Markus Brunetti, Facades
For the first time I’ve taken some days out from the summer to head to the south of France for the annual Recontres Les Arles photography festival. I’ll be posting a few pieces over the coming days highlighting some of the festivals highlights. I’ve already highlighted the best of the Discovery Award, the great exhibitions of historic photos in Vernacular and Spirits of the Tierra del Fuego People and the very interesting but not entirely resolved Dark Tourism and The Heavens, Annual Report exhibitions. I’ve also looked at the excellent Souvenirs of the Sphinx and Alice Wielinga’s North Korea, A Life Between Propoganda and Reality, and rounded up some of the great books I encountered in the various book awards. In this, my final post, I sum up some of my overall impressions of the festival as a first time visitor.
As you can probably judge from my previous five posts, the photography, curation and discussion that I found at Arles was almost all of a very high quality. But what was being displayed and discussed was also photography of a very specific sort. That is the sort of photography which has been practiced more or less constantly since the medium’s invention, the type of photography that involves a person operating a camera, taking photographs of things which are physically in front of them, and then arranging the resulting images into linear sets to be displayed on a gallery wall. And yet few would deny that the excitement of photography lies in the fact it is becoming vastly more than this now, and all those once concrete certainties about meaning, authorship, and even the definition of the medium have broken down.
For the most part I did not find this brave new world represented, or even very often discussed. Even where the work on show had the potential to raise these sorts questions, it felt as if these issues were brushed aside as if they were slightly embarrassing or even a little vulgar. While I wasn’t particularly keen on Markus Brunetti’s Facades series, the composite nature of the work raises interesting questions about the integrity and limits of the digital photograph, questions which were relegated almost to a footnote in the exhibition’s text. Beyond the conceptual conservatism of quite a few of the shows, there was also what felt like the usual preponderance of white, American and European male photographers on display.
There were moments where the festival branched into more innovative and international terrain. The Discovery Award was a notable example but it was equally notable for being an award with a shortlist selected by five independent curators unattached to the festival. Talking to people with a few more years of Arles trips under their belts than me the judgment seems to be more varied. It is hard to get a sense if this is just an off year, or par(r) for the course. This year’s festival is notably marked by a change of festival directorship, and under those circumstances the temptation might be to play it safe rather than take the risk of trying to make a mark or a statement. And yet new director Sam Stourdzé made a very public statement that ‘a festival is not a museum’, a sentiment I fully support but which seems not to have been realised this year.
Looking back I have to acknowledge that I maybe went to the south of France with unrealistic expectations. For successive years before my trip I had heard Arles talked up by friends and colleagues who had been and come back with glowing stories about the festival, and I may have taken these too much to heart. Socially the festival was great, and for some that might be enough. I was hoping though to come away feeling inspired about the possibilities of photography and energised to make new work, but that feeling never quite developed. All the same I’ll certainly be going again next year and it will be interesting to be able to compare the similarities and differences that I find. Here’s hoping that even if we still don’t quite manage to escape the museum, that we at least get a little closer to the exit.